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Author: Lauren Brady

Will Half-Life: Alyx change the VR landscape

Valve shocked the gaming world last November when they announced the next entry in the Half-Life series was on its way – 13 years after the release of the last one. And just a few short months later, we have it. Half-Life: Alyx came out towards the end of March and was instantly met with fantastic reviews.

A new Half-Life game has been on the cards for over a decade – since the release of Half-Life: Episode 2. To put that into perspective, it was the year the first iPhone released and the ‘smartphone’ was a crazy concept. In the end, VR was the spark Valve needed to get their creative juices flowing once more, and now we have a game that might well have re-invigorated the VR craze. But will it have any long-term effects or is virtual reality still a flash in the pan?

 

The rise and rise of VR

Half-Life: Alyx is a monumental release for the VR scene. Very few fully fledged games exist for the medium, at least by the metric of game enthusiasts willing to invest in the technology. This is in spite of the many VR games that received wide praise, be it for their quirky charm, like with Job Simulator, or because they were so addictively challenging, as is the case with Beat Saber.

You can even play some full titles in VR – Bethesda made new versions of both Skyrim and Fallout 4, and Capcom touted Resident Evil 7 as a full VR title from the start. These are all reasons enough to own a VR system (if it’s a luxury you can afford) and set the stage for Half-Life: Alyx. All of them are easy recommendations if you were on the lookout for something new. Without them paving the way, would this game exist? If they weren’t there as proof of VR as a concept, would Valve have taken the plunge? Not likely.

Yet the gaming scene has cried out for something meatier, built solely for the medium. Half-Life: Alyx is different. Valve believe in the technology and wanted their own killer app to prove this is more than a concept.

They even have their own VR hardware: the Valve Index. Now they’ve shown the industry that creating a full game for VR is a viable option. With such a big developer leading the charge, we could be on the cusp of a golden age of VR games, especially if PlayStation continues PSVR support on the PS5.

 

A bright future

This could be the watershed moment most technology goes through. At the start, you have the light games that explore the gimmick and over time you get deeper experiences that embed the gimmick into the core gameplay. Just look at the Wii – various waggle-happy minigame collections like Wii Sports eventually morphed into classics like Super Mario Galaxy. The iPhone had a similar journey, too.

Some might see Half-Life: Alyx as the peak of VR gaming – the natural conclusion to the trend. But it is just the start. Due this year is Iron Man VR, a PlayStation-exclusive superhero romp that puts you in one of cinema’s most famous suits. And you have the return of a classic FPS brand with Medal of Honor: Above and Beyond. It isn’t merely a rushed game with a dormant brand name stuck on it; it has been given to one of EA’s most reliable developers and FPS veterans Respawn Entertainment. The shooting action is sure to be on point.

Even the award-winning mobile gaming series The Room is getting a VR-exclusive entry, proving there is a lot of interest in this format still. Even though its biggest negative has always been the price, it doesn’t seem to be stopping publishers’ belief that this is something worth investing in.

The rich choice of games might be what finally breaks the dam. Those who wouldn’t invest in VR because of the lack of games won’t have an excuse anymore. The user base might be on the brink of blowing up which is exciting for early adopters and the industry at large.

This bout of VR popularity has finally made the dream a reality. VR technology exists and looks amazing, and if we keep pushing, it can reach amazing new heights. What the industry needs are more developers like Valve who are willing to push the boundary and keep VR relevant – to keep that dream alive.

At REALTIME, we’re excited by the prospect of VR and would love nothing more than to see it thrive. It’s part of our love of games. If you have an upcoming project – VR or otherwise – that you would like to discuss, feel free to get in touch at [email protected].

CGI trends in the automotive industry

Whether you realise it or not, CGI is an integral part of the automotive industry. It’s always there – unseen – blending into reality seamlessly. Ironically, CGI is at its best when you can’t notice it. But that is also the beauty of it, and why it continues to be a popular choice for a multitude of reasons.

And with advancements in technology, what can be achieved today is outstanding. Bleeding-edge tech makes for some of the most detailed and realistic work you’ll ever see. And these advancements are leading to some new trends that I believe will become the de facto experience in the industry.

 

Streaming

If there is a downside to rapidly advancing technology, it’s the requirement for meaty processing power. The more details you include, the more strain you put on the computer. If your computer isn’t state-of-the-art, it can end up chugging along, making for a lacklustre, jagged experience. This would hurt your configurator as very few could run it in their own home – nor could any dealerships – and don’t even think about running it on a tablet or phone.

But streaming can solve this problem with ease. Many other industries have jumped on the streaming train, with it pervading music, TV, film, and video games. Now the automotive industry can benefit too. What this means is all the processing is done by the manufacturer – either on their own system or through the cloud. With a good internet connection, you can stream to any device for a clean, smooth experience.

In fact, it can adjust based on the signal strength. It will provide the optimum choice depending on the signal, reducing the chances of having a bad experience. It’s a particular boon for dealerships who need to find ways to adapt to new consumer trends. Having a configurator running in-house is one such way to do this. With some more investment, they could make it even better…

 

3D and VR

What makes these solutions so jaw-dropping is their use of 3D visuals over 2D. What this means is more cutting-edge configurators will use a 3D engine – such as Unreal Engine 4 – to render the car in 3D in real-time. This means each change made to the car is being reflected in real-time, as opposed to simply loading a different asset. It makes for a more realistic, immersive experience, allowing the user to explore the tiniest detail of a car in close up, such as the embroidery on a seat, for example.

And when you combine this with virtual reality, you can create something special. Users can get inside the car and see it with their own eyes – they would almost believe they could touch it. This is something car dealerships need to look into. Not everyone at home can invest in a VR setup, so adding it to the dealership makes it an experience worth travelling to. Something they need in this internet-driven market.

 

Ray-tracing

Ray-tracing is a particular advancement that is very exciting to behold. The technology allows light to react correctly as it does in real life, allowing for amazing effects, shadows, and reflections. In the automotive industry, this simply means cars have never been able to look better in real-time, with lighting and reflections genuinely representing elements such as paint, base coat, flake, and lacquer. It feels as if it truly reflects the world around it.

It’s just another dimension to add to car configurators and goes back to what I said at the start – the best CGI is the one you don’t notice. A common complaint from buyers after using a car configurator is how it doesn’t look the same in real life. This is because configurators don’t tend to offer different environmental backgrounds. Not anymore. With 3D rendering and ray-tracing, you can create stunning and accurate portrayals of how the car will look.

CGI is an art. And what it is doing for the automotive industry is nothing short of outstanding. With big-name brands pushing technology to its limits in the name of realism, the pursuit of flawless CGI will be a race we will always love to see.

At REALTIME, we are on the cutting-edge of what can be achieved – just look at our work with Lotus. Our experts are always pushing the limits and we would love to join you for the ride. If you are interested in discussing your next project, get in touch at [email protected].

REALTIME Key VFX Vendor on BBC America’s The Watch

The Watch – 8 x 1-hour series for BBC Studios / BBC America / Narrativia.

VFX Studio REALTIME are delighted to be working on The Watch as one of the Key Vendors, a fantasy police procedural series which has been inspired by characters from Sir Terry Pratchett’s Discworld series. We are developing a number of creature and atmospheric assets for the show.

The character-driven drama follows several of Sir Terry Pratchett’s best-loved creations on a riotous and emotional odyssey. The cast includes Game of Thrones’ Richard Dormer as Captain Sam Vimes, Adam Hugill (1917, World on Fire) as Constable Carrot, Jo Eaton-Kent (Don’t Forget The Driver), as Constable Cheery, Marama Corlett (Blood Drive, Sick Note) as Corporal Angua, Lara Rossi (Crossing Lines, Cheat) as Lady Sybil Ramkin and Sam Adewunmi (The Last Tree, Stan Lee’s Lucky Man) as Carcer Dun.

The series is directed by Craig Viveiros (The War of The Worlds), Brian Kelly (Outlander, Poldark) and Emma Sullivan (Silent Witness, Doctor Who). The show’s lead writer is Simon Allen (The Musketeers, Das Boot). Joining Allen is a team of writers including, Joy Wilkinson (Nick Nickleby, Doctor Who), Catherine Tregenna (Torchwood, Stan Lee’s Lucky Man), Amrou Al-Kadhi (Hollyoaks, Little America) and Ed Hime (Skins, Doctor Who).

The Watch was commissioned for BBC AMERICA as part of its 2020 slate by Sarah Barnett, President, AMC Network’s Entertainment Group & AMC Studios

Jono Rawlinson, Executive Producer at REALTIME “It’s great to be working on The Watch. We’ve really enjoyed being able to use our 3D character design and building skills as well as our VFX and love working with the fantastic team on the series’

Special Effects vs Visual Effects

What is the difference between Special Effects and VFX, is there a superior choice? 

Welcome back to another blog in our VFX for Dummies series. We’re looking at the wide world of visual effects, demystifying the scene, breaking down the jargon, and making the process that little bit more approachable. In today’s piece, we are looking at the differences between special effects and visual effects. There is often a lot of confusion about these terms so we wanted to take a look at this topic in more detail to help provide a bit more clarity about what both terms mean.

Special Effects and VFX; to the uninitiated, they might appear to be the same thing. After all, visual effects are special and special effects are visual. But despite what people think, the two terms are far from interchangeable. Each speaks to a different aspect of modern-day film and television production.

The difference lies in the part they play during the production process. Special Effects (often abbreviated to SFX) refers to on-set visual effects techniques; you could also call them ‘practical effects’. On-set special effects might include adding various ‘elements’ that the story requires into scenes, such as fire, water and snow. Before the advent of digital technologies, the only way to add ‘elements’ to scenes was by using Special Effects filmed on-set ‘practically’. SFX also includes skills like animatronics. Characters like Yoda from Star Wars are animatronic. SFX also includes prosthetic make-up and the building and filming of ‘miniatures’ Again the earlier Star Wars films used lots of ‘miniature’ models to film spaceships and planets.

VFX is an abbreviation of Video Effects. Video Effects enabled filmmakers to achieve the same effects as on-set SFX during post-production. They could integrate ‘elements’ such as explosions, into their scenes .VFX can digitally re-create anything SFX are able to do on-set. Because VFX is also an abbreviation for Visual Effects – which refers to all forms of digital enhancement of shots – from adding in backgrounds using greenscreens through to integrating GGI models and creatures, there is inevitably some confusion with the terminology !

However for the most industry practitioners, when they are talking about VFX, they are usually referring to the addition of digital ‘elements’ (fire, water etc) into shots – rather than the whole broader term Visual Effects which refers to all forms of digital enhancement of an image. Similarly when people refer to SFX, they usually mean on set ‘practical’ filming of ‘elements’ such as smoke and fire – rather than the broader meaning of the term which includes animatronics, miniatures and prosthetic make-up. This is most likely because CGI has largely taken over from these areas of on-set SFX work in the film and television industries.

You can usually work out which ‘type’ of VFX people are talking about from the context. SFX and VFX are both often used together in a production when discussions arise about when it is better to use one approach over another, or whether to use both approaches to achieve an effect in a shot.

Both SFX and VFX are methods of enabling you to enhance the narrative of your story. Most likely, your production will need one or both of the above solutions. But how do you know which is right for your project?

 

When to use SFX

Special effects hark back to a simpler time in film and TV production. SFX were – and often still are – used to enhance a scene or set piece. An explosion or a fire, a rainy moment in a love story; things that might happen spontaneously in life but require actual planning on set. Common examples of on-set SFX might be snowmaking, rainmaking, or the adding of smoke to create atmosphere. Other parts of the SFX skill set include adding fire – either to dress into sets or to be used as part of a stunt with people

While you can accomplish all of these effects using VFX, it is usually preferable to capture things on camera if you can as the on-set SFX will look more ‘real’. Whether it’s fire, snow, smoke, or rain, if you can create these on set and film them, they are likely to work more effectively and be cheaper to do than creating the digitally as visual effects during post-production.

 

When to use VFX

So if SFX captured on camera are so effective, when do you need to create snow, fire, rain, or other effects digitally as VFX?

One situation might be if you have a bigger canvas to cover and more shots to capture. If you want to create a snowy landscape with wide shots, it will be easier and cheaper to do this using VFX. The same applies to rain.

Then you have to take into account on-set conditions. If you are adding smoke to help enhance a sequence – if it was, for example, a battle sequence in a period drama – the wind may blow away your smoke or it may not ‘behave’ as you wish. This is when you will need VFX smoke. SFX created on-set can’t be ‘directed’ to behave as the director and production team want – whatever fits the story requirements.

That also might link to health and safety considerations. If you are adding fire or explosions that involve using actors or stunt people, it may be possible to create more ‘dangerous’ types of explosion or even set people alight with VFX fire.

Another issue is actors sometimes don’t react well to the smell or texture of on-set smoke and artificial snow. Not to mention the fact snow machines can also be quite noisy, so they aren’t always appropriate for every scene.

 

Will VFX replace SFX in the future?

For shows with bigger budgets VFX ‘elements’ like fire, snow, and smoke, the solution may well come to replace SFX. However, it is more often the case that a series or film will use a combination of on-set SFX enhanced with VFX. So, for example, you might shoot a scene with SFX snow in the foreground where your actors are sitting, with VFX snow added in the background and wider shots. 

Or you might want to have an actor using a flamethrower, so for health and safety reasons you film them with the flamethrower, but no actual flames. You then film the SFX flame elements later, and composite them into the shot. If for any reason the SFX elements aren’t ‘behaving’ as you want them to – you can add some VFX flames to create the effect or impact you want.

VFX ‘elements’ can accomplish much of the same effect as ‘real’ SFX ones without the same health and safety risk. And they can be a cheaper option. VFX ‘elements’ allow you to be more creative in your direction and afford you more flexibility in your production. Much of the work can be done elsewhere by another studio which takes the pressure off of you. Though, as said above, some see VFX as ‘less real’ and prefer the tactile nature of practical effects.

 

Is there a better choice?

It all depends on your situation. Some prefer to stick to the tried-and-true SFX and appreciate its layer of authenticity. And you can see this on the screen in the final product – the stunts look more satisfying and you can feel the heat emanate from an explosion.

But it’s hard to argue against the benefits of using VFX when you need to ‘direct’ the ‘elements’ you are creating SFX ‘elements’ you shoot on set, like fire, can not be ‘directed’ in the same way that VFX fire can be. They can cost your production less and, as developments in CGI technology progress, they look increasingly realistic. These effects were once only accessible by the likes of big Hollywood studios, but now even TV shows have stunning visual effects work. If you can achieve the same effect for less money, is that not the more prudent option?

Depending on your chosen outsourced VFX company, you have immediate access to the skills and expertise of a veteran workforce. You don’t have to rely on your stunt going right in the moment; it can be completed in CGI over time and you can make adjustments to it throughout production. A good VFX company will be collaborative and bring new depth to your ideas.

This isn’t to say you should throw SFX to the side of the road. SFX and VFX can still coexist. A good production will rely on both methods to produce the best final product.

At REALTIME, we can be your visual effects studio of choice. With an impressive portfolio of high-profile work, we know how to work collaboratively with our clients and enhance the production. If you would like to talk about your next project, feel free to get in touch with me at [email protected].

The games industry in lockdown

For the vast majority of the modern world’s population, you’d be hard pressed to think of a singular event that has had such a dramatic impact on the way we live our lives as much as COVID-19. Everything that we hold dear – our freedom, family, friendships, working lives, and even our actual lives – have been placed under threat by a pandemic that has become the most pressing and biggest challenge of our time. 

Everyone will have their own stories as to the toll it has taken on them and there is no shortage of rolling news coverage that continues to add to the anxiety. Like most industries, COVID-19 has cast an incredibly long shadow over 2020. It’s important that the games industry remains positive in its outlook. For some segments of the industry it’s business as usual, with many well funded developers, publishers, and suppliers able to work remotely from home. But it’s also caused huge upset for many, with marketing roadmaps thrown into disarray and pretty much all of the conferences cancelled. GDC’s cancellation was a particularly hard blow which has seen many companies unable to pitch their wares and secure much needed funding.

 

The state of play

Since its inception, the games industry has grown from a humble cottage industry to one that is estimated as being worth $160bn. It has grown up in an era of unprecedented globalisation and technological advances delivering increasingly complex games and experiences. To fuel its growth and ensure its success during this time, it has needed to become reliant on specialist partners, many of whom are often dotted around the world, far away from the main developer’s studio. Localisation, asset creation, programming, audio, motion-capture, and animation are just some of the individual production elements that can be worked on from the other side of the planet. 

Had the pandemic happened thirty-odd years ago when the industry was in its infancy, it could arguably have done a lot more damage. Although games then were far more simplistic, often created in more self-contained environments, they were still reliant on more ‘traditional’ infrastructure to get them into the hands of the players. Duplication factories, printers, packaging, and all before you figure out their physical distribution to shops – traditional infrastructure that has been poleaxed in the wake of the current outbreak. 

 

Where are we now?

Thankfully, the modern games industry has moved on. Compared to many other entertainment industries such as sport, theatre, or music, the games industry finds itself in a relatively comfortable position. This is thanks, in part, to the digital distribution networks that now exist, at a point when games are enjoying a level of mainstream success far beyond what the industry of thirty years ago could even dream of. 

Games now vie with films, TV, and books as the main sources of entertainment in a world of lockdown and isolation. With the right hardware, the latest blockbuster game is just a few clicks away and can offer as great an opportunity to explore seemingly unlimited worlds and stories. This can only be a positive for the industry – especially for the developers and publishers who have a hit game on their hands at a time when players have more time than usual. But that doesn’t mean there haven’t been roadblocks for the industry.

 

A mountain to climb

Some developers are well-equipped to thrive, but the vast majority of developers needed to act fast in order to prevent COVID-19 from impacting on their own productions. The fact that the games industry is so well connected and reliant on a global supply chain has proven to have both benefits and drawbacks. 

With many suppliers based in China, some of the bigger western developers in mid-production were rightly concerned about the potential implications. However, they were also arguably made aware of the potential problems that might lie ahead sooner. Until a few short months ago, words like ‘pandemics’ and ‘lockdowns’ seemed to be the preserve of dystopian sci-fi movies; certainly not something that could ACTUALLY happen in the 21st century. 

But with partners and clients not returning to their studios following the traditional two-week Chinese New Year break, it became apparent quite quickly that we were entering a new reality. Receiving such information and hearing of experiences first-hand enabled the industry to take early measures in mitigating any risks. Many of the tools often taken for granted became a real life-line. 

Video conferencing and remote working software allow them to continue with their creative endeavours. According to an XDS report, 94% of suppliers to the games industry have made allowances for their teams to work from home (XDS Special Report). Indeed, REALTIME has also successfully transitioned to this way of working and is thriving in the face of adversity.

 

Standing strong

It remains to be seen what lies ahead. But it shouldn’t come as a huge surprise that social distancing has led to an increase in the demand for video games, with leading online platforms and games enjoying a huge surge in popularity. While, obviously, no one in the industry wants to profit from the situation, it’s one that should help serve the future growth prospects of the industry well. Far from being tabloid fodder for corrupting a generation, this is an opportunity for games to be seen quite rightly as a positive force for good; an entertainment form that allows people to stay connected while practising social distancing.

These are very much uncharted times and it’s important that the games industry remains positive, despite the gravity of the situation for those who are really struggling right now… There will still be many challenges ahead, but perhaps now is a time to reflect on how far the games industry has come. And maybe, just maybe, the industry will be recognised for playing some small part in keeping people connected at a time when they REALLY need to be apart. 

This unprecedented situation has affected us all in some way or another, REALTIME included. But together we can come out of this stronger than before. If you need a reliable, adaptable partner to work with on your next project, get in touch with me at [email protected].